Trisha Brown Biography

Alexey Melentyev. Mastery of the accompanist Review of the performance of the troupe Trisha Brown in Moscow from the permanent author of the magazine "Soviet Ballet" Galina Inozemtseva. Archive material. It originated in the late sixties - early seventies. And the basic principle of the work of his apologists was the rejection of the theatricality of the dance - the performers during the presentation rolled on roller skates or, equipped with climbing equipment, walked along the walls from a right angle ...

I gave tribute to these hobbies and Trish Brown, the action of one of the performances of the “play on the roof” took place on the roofs of eleven houses at that time, Located on the territory of several quarters of the New York district of Soho: the dancers, being on them, handed each other signals along Semaphor. The audience who observed this picture also settled on the roofs and, as one of them responded, it seemed to them that they saw the reception of signals from aliens.

Then Trisha Brown was quite skeptical about the stage and its capabilities. But the years have passed, and the path of creative evolution nevertheless brought her to theatrical stage. She explained her experiments of past years as follows: “Much of my work was done in contrast to conventions, pretentiousness ...” In Moscow, in the Palace of Culture of the Leninsky Komsomol Automobile Plant, the troupe, led by Trisha Brown, showed the composition “Aviation with a water pump”, “Ice trap”, “Seth and Reset”, “Star Outability”.

These works belong to different periods of the work of the choreographer, and the "star reversibility" went on the Moscow stage as a prime minister. They introduced the metropolitan audience to the unusual, new aesthetics of choreographic action for us, where it is difficult, almost impossible to compare the name of the work with what is happening on the stage. And when we asked Trisha Brown about the content that came to the editorial office of the Soviet Ballet magazine, the plot of her performances, she replied: “I usually start working on the production, which I still do not know anything.

For me, the main thing is movements, and those of them that were born in my head, I try to organize in a single composition, taking into account the logic of the figurative world that develops in my imagination. ” These words of her echo with those that were said by the choreographer in one of her long -standing interviews: "I work abstractly, without relying on the plot." Indeed, the abstract compositions proposed by Moscow viewers represented them a wide field for multi -digit emotional perceptions.

It seems that there can be quite legitimate analogies with musical art - after all, composers of essays that do not have a certain program and which each of the listeners perceive very individually can be created. So here - the inner melody of the plastic of the performers develops according to the dramatic laws, close laws of musical drama, the rhythmic pattern of movements is carefully worked out, the author’s choreographic thinking gravitates to the cantilens and the continuity of compositional constructions ...

and, as already mentioned, there is no specific plot, but, denying it, Braun nevertheless believes that the image, thought should arise in Dance simultaneously with action, without thought there is only physical skill. Telling the editorial staff of her work, Trisha Brown used the words “accumulation”, “accumulate” by the way, and her plastic monologue that opened the touring program was also called “accumulation with a water pump”, explaining that accumulation involves attracting, adding choreographic representations of components from other types of art and not only art.

For example, in “Star Outbuild”, car headlights are used, placed on eight towers constructed from metal structures, amplifiers for music.

In addition, a special touch apparatus is also used here, which “leads” lighting equipment during action. So the dance of the artists, equipped with all this modern "machinery", gains new impulses of influence on the audience perception. At the same time, Trisha Brown is far from the idea of ​​subordinating choreography to all these achievements of the scientific and technical revolution.

It seems that the choreographer is necessary for such objects of modern design as signs of the era, as a certain life background. They help her with great reliability and organicity to identify human emotions, human relationships. Their spectrum in the productions of the American guest is mobile and multi -sized. And its choreography is constantly in motion, in development, in formation.

It is this dialectical interaction, as I think that it was also affected by the style of the dance art of Trisha Brown, which American reviewers call “silk”. Indeed, the choreographic speech of the performers of its performances is devoid of gross plastic “cries” of anti -aesthetic poses, movements, its figurative melodic is characterized by freedom, grace, smoothness.I strive to ensure that the movements of my dances are light, flight, so that my choreography gives the performers and, therefore, the audience is pleasure.

” It was this pleasure that Moscow spectators received from a meeting with American guests. Author's spelling and punctuation are preserved. New materials and relevant news in our telegram channel. Recommended articles.